A CONTEMPORARY CONCEPP Or BOWING TECHNIQUE FOR THE DOUBLE BASS By FREDERICK ZIMMERMANNFREDERICK ZIMMERMANN (1906-1967), internationally ized teacher and performer, was born and educated in New York City. He studied double bass with Herman Reinshagen and, under his tutelage, was one of the first Americans to concertize on the double bass. He succeeded this eminent teacher as a member of the faculty of the Julliard School of Music in 1935 He was also a member of the faculty of the Mannes College of Music: The New School of Music, Philadelphia; double bass coach of the Canadian Youth Orchestra, Toronto, Canada and was a teacher in Education at New York University. He was also a member of the New York Philharmonic Symphony for 36 years. As a lecturer he conducted seminars at various colleges in the East, presenting contemporary concepts of playing, as well as teaching techniques. As a writer he presented the history of the double bass, as well as a new image of the instrument and its performer, elevating it to a level heretofore never realized by either player or listener and giving it a dimension heretofore unknown, The concept of two, three and four double basses playing in ensemble as a method of study, preparing the student as an ensemble and orchestral player, originated with Frederick Zimmermann, He has transcribed much music, from the 14th to the 20th centuries, for this purpose and has interested contemporary composers to write for consorts of double bass. His pupils have filled important positions as players and teachers in the United States, Canada and Europe. More than anyone else in the 20th century, Frederick Zimmermann enlarged the literature of the double bass and gave the instrument prominence and dignity in the musical worldA CONTEMPORARY CONCEPT OF BOWING TECHNIQUE FOR THE DOUBLE BASS By FREDERICK ZIMMERMANNPREFACE Many of the technical problems presented in the playing cf the double bass are problems peculiar to that instrument. They exist because of its physical structure and its manner of tuning. ‘The most formidable problems presented by the proportions of the double bass are the great dis- tances separating notes and intervals, and the excessive number of shifts made necessary by the fact that only two semi-tones can be played in one position. ‘The solution to the problem of playing a complex, non-diatonic passage at a rapid tempo is sought in fingering as many notes (intervals), or orders of notes (chordal), as possible in one position. However, while this solves one problem, it creates another: i: adds to the number of cross-string bowing changes. ‘An approach to the development of a technique relating to this particular problem is the subject of this work Fingerings function as guides, outlining generalizations and "'systems automatically in established and readily recognizable patterns , to train the fingers to move ‘The fingers trained to respond to Example 1: Allegro along the contours of the fingering pattern in Example 2: Allegro will do so as a reflex in whatever context this figure may occur (Mozart, Beethoven, Brahms, Storch- Hrabe, etc.). Such a spontaneous recognition of and response to a figure does not, however, occur in the action of the bow arm, There are no precise guides, such as fingering indications, to clarify and make knowledge able the nature and structure of the bowing patterns which seem to be, so to speak, woven in the very tex- ture of the passage itself. To abstract such bowing patterns from their rarticular environment or passage for ready indentifi- cation, classification, communication, detailed study and analysis is the main objective considered in organizing the material of this work, Cony ©1956 UNIVERSAL MUSIC CORP {Conta Rerewed ADRs Resned UsdbyFemisionUsing measures from the last movement of the third Symphony of Beethoven, the method by which bowing patterns are abstracted is outlined as follows: The excerpt is written in the upper staff of a pair of bracketed staffs: Example 3: =— = 2 2 7 ‘The pattern is written note for note on the lower staff as follows: Any note played on the "'D'' string is written on the lower staff, directly below that note as an "A" in the fourth position on the "D" string: Example 3a: aT ere ea To. Oe 2 4 2 D Any note played on the "'G"" string will be written on the lower staff, directly below that note as an "B" in the fourth position on the "'G"" string: Example 3b: After carrying out the steps of this procedure throughout the excerpt, the bowing pattern will take the form or structure illustrated in Example 3ct Allegro — er COCs ‘The bowing now has a visual arrangement, and it is interesting to note that though there are four shifts of position for the left hand, there is but one bowing pattern; an element of four notes repeated five times. ‘This excerpt as well as any passage, can now be practiced in parts - the bowing first, free from the distracting movements of the left hand; then the left hand shifts can be practiced unhindered by any uncertain motions of the bow arm, In passages across four strings, notes on the ''A"' string are written as an open "A"; those on the string are written as an open "E"',4 One soon notices, in examining the patterns abstracted from the orchestral excerpts in this work, how often the basic elements of the various sections occur - either by themselves or in combination with one another, They are present throughout the entire literature, regardless of the key, style or form of a composition. ‘The basic clements of each section, such as those of Section 1, and their inversions B c ee tee ef Epp ete eet =p ff should be studied together with the visual guide (graph) of each in detail, before going on to the next, since the understanding and skill with which one pattern is played (repeatedly) depends on the knowledge and assurance one has gained from the previous pattern, though each separate one is a new experience in controlling the alternating movements of the bow. The general format of this work includes a preface (the object and purpose of this work); an intro- duction (description of the functions of the arm and hand, and the purpose of their functions and supple~ mentary material), and six sections. Sections 1 to IV are subdivided into these parts: 1. The Basic Patterns. ‘Suggested Practice Procedure. Etudes constructed on the Basic Patterns and Permutations of Their Elements. Bowings and Etudes Built on the Bowing Patterns , Examples from Etudes, Orchestral Passages and Materials from the Solo Repertoire. Graphic Bowing Charts. Section V: Patterns, Etudes and Excerpts Relating to Three and Four Strings. Section VI: Bowing Drills. ‘There are over four hundred bowing patterns forming the main portion of this book. ‘Though not an attempt to exhaust all the possibilities, they serve as a sufficient basis for further study, reference, serious consideration and expansion. Their efficacy will be realized in proportion to the manner in which they are used. To have a knowledge of some is to bring a technique to the solution of a bowing problem; to have command of many is to face the materials of music with confidence and skill. - - Frederick ZimmermannINTRODUCTION ‘There are two considerations which are of major importance in the course of practicing cross-string bowing patterns. First, the hair of the bow must remain as close to the strings as possible, in the par- ticular pattern being studied; and second, the raising and lowering movements of the arm must be kept at a minimum, ‘The technique of bowing across two or more strings is a total operation consisting of three principal parts, each part acting in accord with the others 1. The horizontal movements of the bow arm. 2, The raising and lowering motions of the arm. 3. The tilting actions of the hand. a. A sub-phase is the feeling of the weight of the arm, ‘This sensation of weight (the actual weight of the arm) is carried along the intricate motions of all the cross-string patterns. Each stage in turn has its specific function and purpose: 1, The horizontal movements of the arm direct the bow in either alternate or successive down and up-bow motions, They also serve to regulate the various rates of speed (velocity) at which the bow travels. 2, ‘The raising and lowering motions of the arm tilt or direct the bow to either a lower or a higher pitched string. 3. The tilting action of the hand turns the stick of the bow toward the fingerboard in going to a higher pitched string, and away from it in going to a lower pitched string, This motion is auxiliary to and coincidental with the gradual raising and lowering movements of the arm, and serves to reduce its movements considerably, Both actions operate in accord, thus effecting smooth and facile string crossing. ‘The following exercises are included as outlines intended to train the hand and arm to move with an economy of motion from one string surface to another. ‘The tilting action of the hand is valid for both styles of bowing, except that when using the French Bow there is more wrist movement, whereas when using the Dragonetti Bow (German) there is oblique wrist and forearm motion. M.M.J=42 Stroke the note * pause after the full durational value has been realized. (A to B) Diagyam I:2, During the period of rest tilt the bow slowly, in the direction of the fingerboard, until the hair of the bow finds the surface of the "G"' string, engaging it securely preparatory to stroking the note "E"', (see Diagram 2.) (B to BY) Diagram 2: 3. Stroke the note '"E"'; pause after the durational value has been realized, (see Diagram 3,) (B!to C) Diagram 3: 4, During the period of rest, tilt the bow slowly, away from the fingerboard, until the hair of the bow finds the surface of the "D''string, engaging it securely, preparatory to stroking the note "A" (Co Cy Diagram 4:5. Stroke the "'A"'; pause after the durational value has been realized. 6. Repeat the steps as outlined in phases | to 4 (C to D, D!to E, Eto F, F1 t0 G, Gi to H). 42 u te anf 1, During the stroking of the first half of measure 1 (the sounding of the '"A"), gradually tilt the bow toward the surface of the "'G"' string, as close as possible, without actually resonating it. Gauge the speed of the bow and its distance from the "G" string. 2, On the count of three, gently and delicately move the bow across the "G'’ string without any acceleration of speed or change in dynamics, thereby sounding and sustaining the double-stop for the remainder of the measure. 3. Raise the how but slightly from the surface of the "'D"" string while sounding the ''E"" again. 4, While stroking the "E"', gradually tilt the bow toward the surface of the "D'' string, as close as possible, without actually resonating it, Gauge the speed (velocity) of the bow and its distance from the "D" string, preparatory to sounding the note ''A"', then repeat phases 1 to 4.xe10 It is also important to the overall objective of developing a fine bowing technique, that the metric and durational values be kept under control. Since the rhythmic and metric beats in these examples and exer- cises are one and the same, care must be taken to accent only the primary and secondary beats, to avoid any alteration, in pattern or meter, caused by the accidental emphasis placed on a note by the mere act of crossing the string, as illustrated in the following figures. Alteration of pattern: 5 > =e ee > = = = Alteration of meter: 2. to sound ——— Alteration of durational values: A compound of faults: Sf of ‘There are numerous instances, however, when non-metric beats are accented, as in the following excerpt, from the overture to Der Freischiltz, by Carl Maria von Weber, in which the composer indicates a stronger emphasis on the last beats of the first fcur measures, and on the second and fourth beats of the following measure: ‘The metronome markings, suggested by the writer, are to be used for the practice of the various abstracted patterns throughout the sections of this 900k. It is advisable also to practice them one notch above as well as one notch below the metronome marks indicated.n SECTION I a) PATTERN I SUGGESTED PROCEDURE FOR PRACTICE Begin each measure with the metronome set at 4 =72 (two beats to a measure), These are to be played with a détaché bowing; a smoothly articulated stroke with no pause or break between the notes. When the movements of the arm and hand feel comfortable and the crossing motion secure and well di- rected, advance the mark to J= 88. Again, when these are played with a feeling of ease and control, advance to 4 = 104, Play each measure keeping the metronome at ¢ = 104, using a spiccato bowing. When these are played with a sense of ease and control, increase the metronome marking step-wise to d = 116 and d= 126, At an advanced marking of ¢ = 132 to d = 152, the bow is again moved with a rapid détaché bowing.ETUDE PATTERN I 4 =92(spiccato), J = 126 (détaché)PERMUTATIONS OF PATTERN I A B A c A vo“ if a a «ETUDES PERMUTATIONS OF PATTERN I Allegro 4 =96 (spiccato) Allegro molto J =112(spiccato)BOWINGS | PATTERN I ‘The dotted notes are to be played alternately on the string (Staccato) and off the string (Flying Spiccato)ETUDE BOWINGS (PATTERN 1) Moderato J =84 ae ey18 PERMUTATIONS OF PATTERN II20 ETUDE PATTERN II Allegro con brio 4 = 100 oe ef2 ETUDES PERMUTATIONS OF PATTERN II Allegro non troppo 4 =8822 BOWINGS PATTERN II NGA DADA “The dotted notes are to be played alternately on the string (Staccato) and off the string (Flying Spiccato).23 ETUDE BOWINGS (PATTERN II) Moderato J =69 to Allegro J =96 - 2 > eG aalehaslta ole[ oe |e24 PERMUTATIONS OF PATTERNS I & II tev 'S re fe te te25 one mM Add =M Poop eee e alt Pop -9 pe =A26 ETUDES PEMUTATIONS OF PATTERNS I & II Vivo J = 126 (spiccato) geet ti eee zt ae ts te Ly 1° Ly Lr te aya: poe—e fe Eroe Allegro di molto J = 112 2 ‘This exercise is to be practiced with a Martelé bowing; each note beginning with a sharp attack and separated from the next note Allegro giusto 4 = 10028 ETUDES BOWINGS (PATTERNS I & II) Allegro non troppo 4 =88 4 VE oe _ _ TC wy 3 1 : ) H ip29 Allegro di molto 4 = 112 Moderato assai / =66 ZEAE(PERMUTATIONS OF PATTERNS I & II31 TH32 ETUDES PERMUTATIONS OF PATTERNS II & I Allegro J=92 Allegro =92 j 2BH ETUDES BOWINGS (PERMUTATIONS OF PATTERNS II & I) Allegro assai 4 = 100 22 HOte es 224.4 e7o H ~~ = ee ee nee eter. 6SYMPHONY No. 40 WOLFGANG A, MOZART Allegro 10 F F F F Combined in the first measure of this example are F of pattern I and H' of pattern II, one of the ‘many permutations of patterns I and II, In measure two we find H' and A? permutations of the basic patterns, Measures three, four, five and six are repetitions of the basic pattern F. Measure seven consists of an element of F and an alter~ nate crossing between the D and the A strings. Subsequent examples will be similarly notated, using symbols corresponding with each section.PIANO CONCERTO No. 4 LUDWIG VAN BEETHOVEN Vivace -——o oog orzsoz0 Lootgotten ‘ G G H A ct ch ct Ht SYMPHONY No. 34 Presto WOLFGANG A. MOZART uO uanaeleels 4 aot paoido 140 = E ao B Dp E CONCERTO 1 a B D Allegro moderato 3 DOMENICO DRAGONETTI we £ B,D. STEIN 3Allegro Allegro molto 2 Allegro molto at STORCH - HRABE 2 4 £.D, STEIN ANTON SLAMA 4 o47 SONATA No. 5 ANTONIO VIVALDI Allegro con spirito ZS a7 mt CARNIVAL OVERTURE Allegro vivo 4 agea 4g ANTON DVORAK £ £ 1 ¢ tite po atari oSYMPHONY FANTASTIQUE Allegro HECTOR BERLIOZ io AL ICR Ins _~ | 2=9639 CONCERTO DOMENICO DRAGONETTI ee hg 1 of Allegro SYMPHONY No. 6 sion S2o%en PETER I, TCHAIKOVSKY Allegro vivo 4 oye f Allegro tyd 2 aa JOSEPH HAYDNSYMPHONY No. 5 Allegro giocoso Solo SERGEI PROKOFIEFF4 SYMPHONY No. 3 LUDWIG VAN BEETHOVEN c al Hw SYMPHONY No. 5 LUDWIG VAN BEETHOVEN SYMPHONY No. 8 (Unfinished) FRANZ SCHUBERT Allegro 24 144 2-100SYMPHONY No. 7 Allegro vivace (in one) FRANZ SCHUBERT 5 vole bey ‘This bowing (Piqué) is to be played in the upper half of the bow; the dotted eighth note short (Martelé) and the sixteenth note with a smoother stroke (Détaché).WI gt arien as Allegro vivace ri yy SYMPHONY No. 41 WOLFGANG A, MOZART :SONATA for Two Violins, Cello and Double Bass Moderato GIOACCHINO ROSSINI —syee C“D“E F G°H“I 45a7 3-60 eae (Vee is T3%G DE RG Op Hea H Tcl pl 1 FayBscy Dy, VEEL GU Wh Bad= 144 2 2. 2 PAs CL DE BLP GU IRAE SRY EGAoeSECTION II PATTERN I SUGGESTED PROCEDURE FOR PRACTICE d= 92 to 4.108 on the string - détaché. d=116 to J. = 152 spiccato. 4. = 160 on the string.ETUDE PATTERN I Allegro 4. = 88 (détaché) ¢. = 112 (spicata) £ Allegro 2 =8852 BOWINGS PATTERN I v * Vv i i {Hf53 ETUDES BOWINGS (PATTERN I) Allegro Moderato 4.=80 eft f = eSPERMUTATIONS OF PATTERN I A B A c A ve55 oA nM onAllegro con brio ¢. ETUDES PERMUTATIONS OF PATTERN I 112 (spiccatoy7 Vivace This exercise is to be practiced with aMartelé bowing; each note beginning with a sharp attack and separated from the next note, Allegro non troppo 4:58 ETUDES BOWINGS (PERMUTATIONS OF PATTERN I) Allegro ¢.=8859 Allegro J.=96 Moderato J. =76VARIATION OF PATTERN I PERMUTATIONS A B A c 2c #662 ETUDE PERMUTATIONS OF VARIATIONS OF PATTERN I Moderato ¢. =76ETUDES PERMUTATIONS OF ANOTHER VARIATION OF PATTERN I Moderato J. =72 tEXERCISES BASED ON PATTERN I Allegro di bravura 4. = 13265 TROUT - QUINTET Allegro (in two) 5 , FRANZ SCHUBERT o 3 2 3 s eae (in one) SYMPHONY No. 4 (Italian) FELIX MENDELSSOHN Allegro vivace 1 + Allegro vivaceOVERTURE TO “EURYANTHE” CARL MARIA von WEBER . as iaawG 3 SYMPHONY No. 103 (Drum Roll) Allegro con spirito ; ar JOSEPH HAYDN: oo : 24 | |Allegro CEPHALE ET PROCRIS SUITE ANDRE GRETRY - MOTTL SYMPHONY No. 45 (“Farewell”) JOSEPH HAYDNSYMPHONY No. 7 LUDWIG VAN BEETHOVEN 2b 4 Vivace ny mony Mon, simte Fah °PIANO CONCERTO No. 4 LUDWIG VAN BEETHOVEN TILL EULENSPIEGEL Allegro con brio RICHARD STRAUSS eg v_ oy ae OY ot dises eotete i aeons y Permission for reprint granted by copysiglt owners, C.F, Peters Corporation, New York, N.Y. DON QUIXOTE Allegro di molto RICHARD STRAUSS 3 Permission for reprint granted by copyright owners C, F, Peters Corporation, New Yorky N.Y.70 Allegro vivace (in one) SYMPHONY No. 7 FRANZ SCHUBERTn Allegro JOHANNES BRAHMS72 Gla b B Cl, D! EB FE c/D’ B F 6% A B7374 ao75 3-50 2 d=50SECTION III PATTERN I SUGGESTED PROCEDURE FOR PRACTICE 4272 to J = 132 (détache) ETUDE Moderato J =84 PATTERN I7 PERMUTATIONS PATTERN I A B A yo TRV > yo78 mM oh ah wt wh an aN79 ETUDES PERMUTATIONS OF PATTERN I Allegro vivo 4 =96 to 4 =120 Allegro vivo 4 =96 to ¢ =120 ~BOWINGS PATTERN I rt) ; I) c ) ) 4 * "The dotted notes are to be played alternately on the string (Staccato) and off the string (Flying Spiccato).81 ETUDE BOWINGS (PATTERN I) Moderato 4 =76 ES Hit Of Dio bee A ETUDE | BOWINGS (PERMUTATIONS OF PATTERN J) Allegro 4 =96 Ss82 PATTERN II ETUDE PATTERN II vivo J =120 t..f eff eee if eet Ef o&83, PERMUTATIONS OF PATTERN IIETUDE PERMUTATIONS OF PATTERN II Moderato J =88 CL a Ee ate Grd or,86 PERMUTATIONS OF PATTERNS I & I8788 ETUDES PERMUTATIONS OF PATTERNS I & II Allegro ¢ =92 to 4 =108 Allegro 4 = 108 SSS eS89 PERMUTATIONS OF PATTERNS II & Ia” ETUDE PERMUTATIONS OF PATTERNS II & I Allegro con moto /=88 to 4 =100 ge a wrpieffitt Ett t,VARIATIONS ON A THEME BY HAYDN (Variation No.6) Vivace ets JOHANNES BRAHMS A f OVERTURE “LEONORE No. 3” Allegro (in two) LUDWIG van BEETHOVEN M21 by 2 Le —- D msg A NO93 SYMPHONY No. 102 JOSEPH HAYDN Allegro vivace 2 > > eae Sit 2 =132 WOLFGANG A, MOZART a 4 ‘ acres 5 aieettet: OVERTURE to “DER FREISCHUTZ” CARL MARIA von WEBER — Molto vivace 412g eo94 Vivace no 4 =120 p Aon Vivace SYMPHONY No. 3 FELIX MENDELSSOHN95 OVERTURE TO ROMEO AND JULIET PETER I. TCHAIKOVSKY Allegro giusto A 4-138 Allegro JOSEPH HAYDN ‘te Sd96 SUITE No. 2 in B MINOR Badinerie n 4 SONATA No. 3 Allegro (sostenuto) ANTONIO VIVALDI7 A B,CiD! EF! Gla 73 ODE Gb P12 f AL BLCID ELF! Ga BO CDECF'G bdoa ABC DLEIF Gla .)99 1-12, AE! Ga Gb ECF z 1D 4 t 2 “D c B 12 gaGla > BIE FG” Bcypl vA E cD Ye Gs Bd.7 BoC! DIE FI Gia CDE F°G~ b A B102 an E’F G BCD103, den i B cl UD B CDE “105 SECTION IV PATTERN I Suggested procedure for practice; Each pattern is played first at a metronome marking of 4 = 90. ‘The tempo is accelerated until J = 176, with the bow on the string (Délaché). With the metronome set at 4 =192, the patterns are practiced with a Spiccato bowing. At o-= 88 the bow remains again on the string.106 ETUDES PATTERN I Allegro giusto 4 = 168 —-—9107 Presto ¢-=76 This exercise is to be practiced with a Mavtelé bowing; each note beginning with a sharp attack and separated from the next note. Moderato 4 =144 s3¢3,¢ Te rt IBOWINGS PATTERN |symM0 | ETUDES BOWINGS (PATTERN I) Moderato ¢ = 126 > Andante 2=138m PERMUTATIONS OF PATTERN Iu2 zhel113 ETUDES PERMUTATIONS OF PATTERN I ‘Allegro molto 4 = 152 to 4 = 176 (spiccato) to 4 =208 (détaché) 2 214 BOWINGS PERMUTATIONS OF PATTERN IusETUDES BOWINGS (PERMUTATIONS OF PATTERN 1) Allegro giusto J = 138 to 4 = 160 ~ Ce7 Allegro giusto 4 = 160 E5454. £ A . eteAllegro giusto 4 =138 to ¢ = 160 £8 eae teen AH GG19 SYMPHONY No. 1 JEAN SIBELIUS Scherzo copyight 1902 by Beithopt & Hane Used by Fermision of Aswclated Ms Publishers, Io Vivace (in one) SON 1 HENRY * 4 Y ~ =~ ; ~ CLES a SYMPHONY No. 8 LUDWIG van BEETHOVEN Allegro vivace , 2 7 440 iad ar t oge 2 =692 SONATA No. 5 Allegro ANTONIO VIVALDI SERGEI PROKOFIEFF £8, 22 ° 1 1 H D DOF DOG H Antegro SYMPHONY No. 39 are cee | WOLFGANG A, MOZART * As illustrated above, a change in fingerings will often induce a change in the bowing patterns, In analyzing the change of patterns one can readily observe, as in the measure indicated by an asterisk, that what is often judged to be an ideal fingering ("‘ideal'" judged by the fact that all the notes of the mea- sure can be played in one position) induces, however, a pattern that presents a complex bowing proble whereas, in making a move or moves outof position, or even in preferring an open string, very often will induce a sequence of patterns whose similarity and familiarity will afford the passages to be played with greater fluidity.12 SYMPHONY No. 9 Presto LUDWIG van BEETHOVEN CONCERTO Rondo ne E, D. STEIN 2 oe 2 3° Pid mosso gua-- wee eee122 SYMPHONY No. 45 (‘Farewell’) Allegro assai Allegro non troppo —T wa JOSEPH HAYDN JOHANNES BRAHMS123 COURANTE from SONATA Allegro con spirito 3 HENRY ECCLES| 124 | SECTION V Patterns, Etudes and Excerpts relating to three and four strings BOWING DRILLS FOR THE UPPER THREE STRINGS Ae BL co D_ Bo * The dotted notes are to be played alternately on the string (Staccato) and off the string (Flying Spiccato). BOWING DRILLS FOR THE LOWER THREE STRINGS125 ETUDE UPPER THREE STRINGS Presto 4-= 138 (spiccato) SS ah oo aS ETUDE BOWINGS FOR THE UPPER THREE STRINGS Moderato ¢-= 100 a; 7126 BOWING DRILLS IN THREE QUARTER METER (UPPER THREE STRINGS) E W" yo g = fi lv: L VE Zz ° K BOW INGS BOWING DRILLS IN THREE QUARTER METER (LOWER THREE STRINGS) b127 ETUDE IN THREE QUARTER METER - UPPER THREE STRINGS Moderato 4 =126 (martelé) ETUDE BOWINGS Moderato 4 = 126128 SYMPHONY No. 1 Scherzo - allegro molto JEAN SIBELIUS # ©Copyright 1902 by Breithopf & Hartel. Used by Permission of Aetociated Musle Publishers, Inc. * if no low C availableBRANDENBURG CONCERTO No. 2 JOHANN SEBASTIAN BACH ooo eo = E Allegro130 MAGNIFICAT JOHANN SEBASTIAN BACH Allegro moderato i Ta Seetooty 2 OVERTURE “LEONORE No. 3” LUDWIG van BEETHOVEN Allegro ee a SS J = 132131 SYMPHONY No. 5 LUDWIG van BEETHOVEN Allegro132 Allegro a] PS V0a ae + = es =SYMPHONY No. 9 Prestissimo eee Daeg St *J='132 133 Maestoso =# ie tea=s * begin the study ofthis excerpt at the metronome mark = 112; advance gradually th d= 120, 2 = 126 to the final tempo indication by Beethoven of 2 = 132. wrough 2 = 116,134 SECTION VI BOWING DRILLS FOR THE UPPER TWO STRINGS PATTERN 5135 VARIATIONSH137Vivo J =200 (spiccato) 1 ° ao 4 oo f-Pe_139 = 152 ‘The dotted notes are to be played alternately on the string (Staccato) and off the string (Flying Spiccato). J =160 BEE This bowing (Piqué) is to be played in the upper half of the bow; the dotted eighth note short (Martelé) and the sixteenth note with a smoother stroke (Détaché). 4 =160 to J =176The dotted notes are to be played with a Flying Spiccato bowing. Allegro 2-200 3S Allegro J. = 92 testo 4 ~ ae DET # ==tose ee reer ae we Est melidieshitteighs142 Adagio #=200 eee etna Pere143144 Ee ‘ et eee ee aeUNIVERSAL Kak UNIVERSAL MUSIC PUBLISHING GROUP swwwuniversalimusicpublshingcom PH ttai el CONARM: